Literatura académica sobre el tema "Blanchot, Maurice (1907-2003) – Cinéma"
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Artículos de revistas sobre el tema "Blanchot, Maurice (1907-2003) – Cinéma":
Holland, Michael. "Maurice Blanchot (1907–2003)". Paragraph 26, n.º 3 (noviembre de 2003): 127–30. http://dx.doi.org/10.3366/para.2003.26.3.127.
Nancy, Jean-Luc. "Maurice Blanchot, 1907–2003". Paragraph 30, n.º 3 (noviembre de 2007): 3–4. http://dx.doi.org/10.3366/para.2007.30.3.3.
Tesis sobre el tema "Blanchot, Maurice (1907-2003) – Cinéma":
Chou, Tan-Ying. "La problématique de la réécriture externe et de la réécriture interne entre quelques œuvres littéraires et cinématographiques". Paris 8, 2008. http://www.theses.fr/2008PA082970.
This thesis deals with the question of cinematographic adaptation of literary works. Through several examples, such as "Le Mépris", "Journal d'un curé de campagne", and some of Duras' films, based on her own texts, we discover the different artistic operations in the originals and the films. In fact, these films, exceeding conventional adaptations of novels, reveal to us the "outside" which could be a stake in a certain kind of rewriting process. Then we explore this "outside" with the "internal" rewriting which appears in some literary texts and films respectively. Learning that the "outside", a notion developed by Blanchot, has always been approached through other terms such as the "pure absence", the "Other", and the "Unknown", we continue to reexamine them gradually with our analysis of rewriting operations. So first, we connect "Nadja" with "8 1/2" in order to discern two modes of internal rewriting - literary and cinematographic - which are susceptible to "created" absence. In "Éloge de l'amour", we notice a similar (re)writing strategy, which is based on the continuous reference to the "Other". Finally, by retracing the (re)formulations of literary works' law in "Le temps retrouvé", we hypothesize that the "Unknown" at stake in these internal rewritings, which set barrages of illegibility in different ways, could aim to reinvent the relationship between the work and its readers. Thus, we try to construct a reception mode which could go with the specific rewriting objective. And it is by confronting some reception theories that we establish a link between a possible reception posture regarding the "Unknown" and the perception of outside-duration created by external and internal rewriting
Stadelmaier, Philipp. "kommentare zum (post-)kino : Serge Daneys kritiken (1962 – 1992) und Jean-Luc Godard „histoire(s) du cinéma“ (1988 – 1998)". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080012.
This thesis deals with the works of film critic Serge Daney and Jean-Luc Godard’s Histoire(s) du cinema, which I will interpret on the basis of Maurice Blanchot’s notion of “critique”, Jacques Derrida’s notion of “supplément” and Michel Foucault’s concept of “commentaire”. I will argue that Daney’s texts and Godard’s montages function as criticism and commentaries that perpetuate a “supplement of cinema”. While Blanchot's criticism “completes” the work of art (in this case the film) by interpreting it, Derrida's supplement signifies a lack of meaning in the act of writing, Foucault's notion of commentary allows to go beyond the dimension of the singular work and to refer to cinema as a concrete epistemological object, a primary text ("the cinema"). According to Foucault the commentary repeats a primary text while preserving its inexhaustible potential of meaning. Based on this thought, I will approach Daney’s and Godard's works from a post-cinema perspective. In the digital age in which cinema has undergone various transformations, the meaning of the concept of “cinema” is constantly being re-evaluated. Unlike a general understanding of cinema as apparatus, place or specific medium, I conceive cinema as a text that constantly needs to be interpreted and supplemented
Harlingue, Olivier. "Maurice Blanchot et la philosophie". Paris 10, 2005. http://www.theses.fr/2005PA100097.
The first part of our study – devoted to the examination of first moment of Blanchot's thinking, which extends from Faux pas to Le livre à venir – initially sets out to show how Blanchot interrogates, both phenomenologically and ontologically, literature's very existence as the incessant interminability that will appear to us not only as the phenomenon (of) literature, but also as that which already demands a certain critical relation with philosophical discursivity. Then again, in the second part of our study – devoted to the second moment of Blanchot's thinking, which extends from L'entretien infini to L' écriture du désastre – it becomes a matter of "delimiting" and "overcoming" the very limits of this still merely critical relation with philosophy so as to think the incessant interminability, no longer phenomeno-onto-logically, but as the very a-plastic form of difference (of) neutral and writing outside philosophy and outside literature
Amara, Nadia. "Maurice Blanchot 1931-1941 : une dissidence plurielle". Paris 7, 2003. http://www.theses.fr/2003PA070063.
This work presents a body of articles written during the first ten years of the career of Maurice Blanchot as a rightwing joumalist and social critic. It attempts to understand the plural meanings which can be given to Blanchot's revolutionary dissidence, while contextualizing the ideological representations and theoretical foundations, such as personalism and Maurras, that underlie his writing. Through Blanchot's essays, we look at neoclassical themes and divisions, including culture / civilization, germanophobia / nationalism, clarity / obscurity, universality / modemity, to show how debates surrounding neoclassicism are pivotal to his reading and in turn, how certain categories he uses, "l'obscur", "la nécessité", "l'étrange" and "le langage", help reassess literary value as mythical notion in literary history
Pulido, Martha. "L'approche d'autrui, dans l'oeuvre romanesque de Maurice Blanchot". Paris 12, 1994. http://www.theses.fr/1994PA120058.
The present work introduces the theme of the process of transformation experienced in the ways of seeing the other ; therefore, a transformation of the perception of the literary work, and of the time favourable to its creation. M. Blanchot's work speaks to the contemporary man questioning : what is litterature good for ? the character that allows this approach is the wandering poet, thomas, whom we have drawn near the image of the suppliant and the troubadour. In this manner, m. Blanchot's work reveals itself as a challenge against the law in general, and against the narrative laws in particular, so serving the purpose of forgetting the weight of the law
Stratton, Gae. "La mathematique extraordinaire de maurice blanchot". Paris, EHESS, 1991. http://www.theses.fr/1991EHES0312.
From the beginning a form of translation has been at the root of our concerns. At first, this translation was to take place between the place topologically defined, and the letter, term which at that time was practically synonymous as far as our text was concerned with the signifier. A bit later, and this teanslation was to operate between mathematical letter (the mathematical sign) and the language of thought, and more precisely, this language as it is expressed and realized in the literary work of maurice blanchor. In the end, and as a consequence of the passage from its point of departure to its destination, it became a form of translation connecting conceptual terms, the first being the point, with the same terms understood outside of all and any possibility of conceptualisation
Jahng-Koh, Jae-jung. "Récit et théorie littéraire chez Maurice Blanchot". Paris 10, 1985. http://www.theses.fr/1985PA100272.
Mesnard, Philippe. "Maurice Blanchot, le sujet de l'engagement littéraire". Paris 7, 1994. http://www.theses.fr/1994PA070078.
Limet, Yun Sun. "L'écriture critique de Maurice Blanchot". Paris 8, 1997. https://octaviana.fr/document/181449196#?c=0&m=0&s=0&cv=0.
We elaborate the notion of "critical writing" in blanchot's non fictional work. This notion is important, not only because these writings are critical, but also because criticism should be understood as central to writing as such. We have restricted our corpus to the non fictional writings. These writings think literary criticism as a "relation" fondamentaly defined by its impossibility. Analysing blanchot's practice of literary criticism, we find that this "relation" is paradoxically possible in a "critical writing". The critical dimension comes from the self questioning of blanchot's critical writings on criticism. But the autoreflexive gesture is not only a solipsist movement it is open to a specific temporality that we call the "time of criticism". This time signifies that writing is a process within which reading is defered and always put off in re-writing. The mean of that "defering time" is the other critics texts taken as a mediation to the text, and also, the "ressassement" through which blanchot, repeatingly, focuses on and displaces the same figures, problematics and privileged authors. This specific time of critical writing shows an evolution in blanchot's non fictional work aswell. When blanchot writes in fragments it is a moment which may be seen as a crisis and, at the same time, a renewal of the critical relation. What is at stake in that moment? the reconstitution, trough the ordeal of disaster, of the subject of writing which has been broken up. In that recovery of the subject, the self can only be thought in relation with the other. The relation with the other was inscribed from the beginning in the critical relation and its paradox should be understood according to blanchot's thinking of friendship an community : a relation that does not relate. This is the signification of the torment which inhabitates his critical writings. The impossibility of beeing in relation is sustained in the writing of/to the other writer
Sumiyoshi, Ken. "Maurice Blanchot et son écriture". Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL014.
It is the inspiration that encourages us essentially to speech. But, is the man, before the act of writing / talking and at the time of the act or after the act, identical? If the subject of the act could answer positively, we dispute it. At which moment does a fissure of identity happen to the man? We show that it arrives at him at the time of the inspiration. At the dawn of philosophy, Plato assumes the identity between what inspiration asks the man to put into words and the words he confers on it. Platonic Dualism of the sensitive world and supersensible is known, but this structure that considers the idea as a final goal is, as Nietzsche correctly detects, itself motivated by the idea. The idea, as inspiration, triggers and guides the Platonic movement towards it. Located at the beginning as well as at the end, it is identical, and Hegel and Heidegger are in the same line. It is against and in this identity which constitutes a circle, that we introduce a difference or an alterity, and this in particular by the idea of immediate. Inspiration, when it comes to us, doesn’t stay; immediately appeared, it disappears immediately and at the same time. It does not remain to guide us towards it but it only passes, which means that it does not show us its presence but its absence. If the man believes to give his words to what inspiration whispers to him without language, he actually gives them to the trace of inspiration or to the absence of inspiration. By the words, he does not embody the inspiration but forms an image of the inspiration, and one of the biggest problems is that Plato, Hegel and Heidegger take the image as inspiration; they take the absence of something like its presence, without differences or otherness. This homogenization of one and the other which are actually different from each other, as well as the identity to which it ends, are due to the magical power of the image it is not easy to realize.But, by the idea of difference and otherness, couldn’t we say that something else begins that inspiration, namely something new? This is the case of Levinas's thought. And yet, the Jew, whose thought is to extend the specificity of the inspiration at a moment to all the moments, prepares a Blanchot’s radicalization of the absence. It is through the language that this radicalization is realized. Language is not a series of words with consistent meaning, but it is above all a series of phonemes and letters. Moreover, this series is not continuity: when each phoneme, by its immediacy, disappears at the same time as it appears, it is totally indifferent to what precedes it and what follows it. It breaks any relation to others at the spatial-temporal level, which means that the series of phonemes is a continuity of the discontinuous. Thus, what man gets through language is not an entity language with significance, but an entity of missing inspirations at every moment, namely an entity of images that have no relations with each other. Our research will then lead us to answer the question of whether the man, before the act of writing / talking and at the time of the act or after the act, is identical. We answer negatively, not that the language confers a new identity to a man, but that it escapes at every moment, that is to say that it has never been any identity, except an identity based on a falsely continuous image
Libros sobre el tema "Blanchot, Maurice (1907-2003) – Cinéma":
Bident, Christophe. Maurice Blanchot. Traducido por John McKeane. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.001.0001.
Capítulos de libros sobre el tema "Blanchot, Maurice (1907-2003) – Cinéma":
"3. Waiting Maurice Blanchot (1907–2003)". En Last Works, 57–82. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300231427-005.